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Cultures & Communities

Furniture, cooking wares, clothing, works of art, and many other kinds of artifacts are part of what knit people into communities and cultures. The Museum’s collections feature artifacts from European Americans, Latinos, Arab Americans, Asian Pacific Americans, African Americans, Gypsies, Jews, and Christians, both Catholics and Protestants. The objects range from ceramic face jugs made by enslaved African Americans in South Carolina to graduation robes and wedding gowns. The holdings also include artifacts associated with education, such as teaching equipment, textbooks, and two complete schoolrooms. Uniforms, insignia, and other objects represent a wide variety of civic and voluntary organizations, including youth and fraternal groups, scouting, police forces, and firefighters.

The engraved copper plate "Discovery of the New World" was used to print illustration number six in Nova Typis Transacta Navigatio, an account of Columbus's expeditions published in Austria in 1621. The plate was engraved by Wolfgang Kilian (1581–1662), one of a distinguished family of artists and engravers from Augsburg, Germany. The scene represents European explorers being welcomed at a feast by Native Americans.

The publication was dedicated to Caspar Plautius, Abbot of the Benedictine monastery of Seitenstetten, where the book was published. Plautius also has been suggested as the author of the work, which treats the exploration and discovery of the Americas and the role of Benedictine priests as missionaries. The Benedictines, under Father Bernardo Boyl or Buell, were sent by the King of Spain to Christianize the native peoples of the New World. The plate came to the Smithsonian in 1905 from the Seitenstetten monastery, through Prof. P. Joseph Schock. Several impressions were printed from the plate in 1913.

This engraving shows Hernán Cortés (1485–1547), the Spanish captain who headed the conquest of the Aztec Empire. He became a part of popular mythology the moment he arrived in Mexico in 1521. Cortés had spent time in Cuba killing and enslaving its indigenous inhabitants and administering the new social order of the Spanish colonies of the Caribbean. As his well-read memoirs attest, even his experiences in Cuba did not prepare him for the history-altering intrigues, battles, and cultural encounters between the Spanish and the Mexicans, Mayas, and their many neighbors in between. Motivated by an ancient notion of fame, Hernán Cortés wrote his own version of the conquest of Mexico that put him squarely at the center, favored by the Christian God. But neither his victories nor his pillage of the Mexican capital would have been possible without the aid of soldiers, slaves, and supplies from the enemies of the Aztecs. As a testament to Cortés's enduring fame, his portrait by the Spanish painter Antonio Carnicero was published as an engraving by Manuel Salvador y Carmona in 1791 in the book, Retratos de los españoles ilustres, con un epítome de sus vidas, (Portraits of Illustrious Spaniards, with a Synopsis of Their Lives.)

Though anchored in local Roman Catholic traditions, many of the religious beliefs and symbols of Mexican Americans have roots in indigenous notions about the soul and our universe. Between October 31st and November 2nd, Día de los Muertos, or Day of the Dead, is celebrated with family, decorating home altars and visiting the graves of loved ones. A holiday with much regional and individual variation, it is traditionally an occasion to commemorate parents and grandparents with altars of marigolds, candles, alcohol, skeleton-shaped sweets, and other foods and personal objects favored by the dearly departed. Day of the Dead celebrations were reinvented across many Mexican American communities beginning in the 1970s, as the Chicano movement promoted and readapted Mexican cultural practices. Many artists since then have seized on the visual power of the altar as a conduit for personal and public memory. In the United States, Day of the Dead altars can be found interrogating life and critiquing politics in public places. Contemporary Day of the Dead celebrations have memorialized those who have died from AIDS, gang violence, the civil wars in Central America, and crossing the border. This lithograph, titled Night of the Dead, was originally drawn in ink by Alan Crane in 1958. Alan Horton Crane (1901–1969) was a Brooklyn-born illustrator best known for his landscapes and genre scenes of life in Mexico and New England. This image is part of a series of prints by Alan Crane housed in the Graphic Arts Collection of the National Museum of American History.

This map of North and South America appeared as part of a seven-volume historic atlas published in Paris between 1705 and 1720. It was also issued separately, and its large size together with its companion lower half suggest its use as a wall chart. Only a detail is shown here. Circular portraits identify nine great explorers, including Columbus, Magellan, and Vespucci. Five voyages of discovery are marked on the Pacific Ocean, the southern ocean of the title.

Elaborate engraved vignettes depict beavers building a dam, Native Americans hunting and fishing, and other men salting and drying codfish. Niagara Falls is pictured, and California is shown as an island, although the growing belief that it was part of the continent is noted.

La Malinche, the title of this lithograph, was the indigenous woman who translated for Cortés between Maya, Náhuatl, and Spanish during his first years in Mexico. Considered either as a traitor or a founding mother by some Mexicans, La Malinche was Cortés's lover and the mother of his favorite son Martín. She and Moctezuma are also central figures in the Matachines dances that are performed in Mexico and New Mexico. Originally commemorating the expulsion of the Moors from southern Spain in 1492, the dance was brought to Mexico where it was treated as a means for Christianizing native peoples. The historical figure of La Malinche, known in Spanish by the name Doña Marina, is also credited for playing an almost miraculous role in the early evangelization of central Mexico. This print, made by Jean Charlot in the 1933, shows a young girl in the role of La Malinche, holding a rattle or toy in one hand, and a sword in the other. Jean Charlot, a French-born artist, lived and studied in Mexico in the 1920s and 1930s. He depicted stylized scenes from the daily life of Mexican workers, particularly indigenous women.

This engraved woodblock of a “Zuni eating bowl” was prepared by the Government Printing Office in Washington, D.C.; the print was published in 1883 as Figure 425 (p. 357) in an article by James Stevenson (1840-1888) entitled “Illustrated Catalogue of the Collections Obtained from the Indians of New Mexico and Arizona in 1879” in the Second Annual Report of the Bureau of American Ethnology to the Secretary of the Smithsonian, 1880-81.

This engraved woodblock of a “Zuni eating bowl” was prepared by the Government Printing Office in Washington, D.C.; the print was published in 1883 as Figure 427 (p.357) in an article by James Stevenson (1840-1888) entitled “Illustrated Catalogue of the Collections Obtained from the Indians of New Mexico and Arizona in 1879” in the Second Annual Report of the Bureau of Ethnology to the Secretary of the Smithsonian, 1880-81.

This engraved woodblock of “Shell Gorgets – the Cross” was prepared by the Government Printing Office in Washington, D.C.; the print was published in 1883 as Plate LI.1 (p.268) in an article by William H. Holmes (1846-1933) entitled “Art in Shell of the Ancient Americans” in the Second Annual Report of the Bureau of Ethnology to the Secretary of the Smithsonian, 1880-81.

A gorget is a piece of shell that has been engraved and perforated so that it can be worn as a pendant; in this case, it has been engraved with a cross insignia. The caption beneath the image reveals that the gorget was found in Union County, Illinois.

In a footnote to his article, Holmes identifies “Kate C. Osgood” as an accompanying artist on his collecting expedition.

This engraved woodblock of a “House-burial” was prepared by Henry Hobart Nichols (1838-1887); the print was published by the Government Printing Office in Washington, D.C. in 1881 as Figure 27 (p. 175) in an article by Dr. H. C. Yarrow (1840-1929) entitled “Mortuary Customs of the North American Indians” in the First Annual Report of the Bureau of Ethnology to the Secretary of the Smithsonian, 1879-80.

This engraved woodblock of a “Handled cup, Province of Tusayan” was prepared by the Government Printing Office in Washington, D.C.; the print was published in 1886 as 298 (p.327) in an article by William H. Holmes (1846-1933) entitled “Pottery of the Ancient Pueblos” in the Fourth Annual Report of the Bureau of Ethnology to the Secretary of the Smithsonian, 1882-83.